A Very Potter SpooktacularTime: Friday 10/27, 9 PMPlace: Wallach 3 LoungeAbout: Every Flavor Beans, Chocolate Frogs, and the House Cup! You don’t want to miss this!

CMTS Presents: The Rocky Horror Picture ShowTime: Friday 10/27, 9 PM – 11 PMPlace: Diana Event OvalAbout: For those with a CUID, tickets are available for $2 online and at the TIC in the lobby of Lerner Hall OR for $5 at the door. Non-CUID tickets are $5 online and at the TIC or $7 at the door. Bring your best Rocky/Halloween spirit and grab a prop bag at the door for $3! Doors will open at 8:30 PM and the show will begin at 9:00 PM in the Diana Event Oval.Facebook EventBuy Tickets

The Shining: Free Halloween Screening!Time: Saturday 10/28, 10 PM – 1 AM Place: Lerner Party SpaceAbout: Join Ferris Reel Film Society and Columbia Undergraduate Film Productions (CUFP) for a fee late-night screening of the classic Kubrick thriller, The Shining! We will be having candy and Halloween-themed food at the screening, so come with a sweet tooth and an empty stomach!Facebook Event

Self Care NightTime: Monday 10/30, 8-10 PMPlace: John Jay LoungeAbout: Take care of yourself during this weekend of celebrations. Come make lotions, listen to music, color, and other relaxing activities! There will be snacks!

LLC and John Jay Hall Councils present… HALL-oweenTime: Tuesday 10/31, 9-10:30 PMPlace: John Jay Lounge & Wallach 1st Floor LoungeAbout: Ready for Halloween? LLC and John Jay Hall Council are collaborating to make your Tuesday night fun and spooky! Come by John Jay lounge for a spooky movie night and costume party and then continue on to Wallach main lounge for donuts, cider, pizza, pumpkin decorating, competition, and much much more!

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Disclaimer: Blurb descriptions were mostly taken from event pages and newsletters.

Regardless of if you do or don’t, the show “In & Of Itself” at the Daryl Roth Theatre will convince you that you do in 75 minutes. Executive Producer Neil Patrick Harris presents a unique theatrical experience that blends illusion with a narrative of identity. Derek DelGaudio, the sole actor, does a fantastic job crafting an authentic performance, taking audience members on an emotional journey that explores identity, memory, how others perceive us, and what is meaningful in one’s own life.

Walking into the theatre, guests are presented with a standing board of “I am” cards. Guests are invited to choose a card that will later be used throughout the show. I chose “I am a ray of sunshine.” Why? It spoke to me. But they had a wide range of options, from alien, to C.E.O, philosopher, accountant, and troublemaker. Identities one strives to be are paired with true identities, such as occupation or family titles. You pick one that speaks to you, whether accurate, funny, or fictional.

The theatre is small and intimate. Perfect for what unfolds next. Delgaudio combines magic and storytelling seamlessly, leaving audience members in awe not only of the tricks he pulls, but also at the story he seeks to tell. Both personal and relatable, the story brings up our own memories and experiences – forcing us to confront who we are and how we identify.

The interactive element of the show is what really allows for the human quality of the production to come through. Each night something different occurs on stage because of the unique audience members present, who each bring with them their own identities and perceptions of themselves. Delgaudio forces you to question your identity labels and reminds you that sometimes people will never fully see you and your experiences for what they are – but that’s okay.

You will ask: Who am I? How do others perceive me? How do I perceive myself? Does it even matter? That’s the point of the show. Delgaudio reminds us to be cognizant of the fact that people are more than what they appear to be (just as magic is more than what it appears to be!). Dig a little deeper and you’ll see more and more of who a person is. It’s a glorious thing to dig below the identities we assign to ourselves and allow others to assign to us.

If you want a different theater experience that is both intimate and beautiful, then see this show. Keep an open mind and go with someone you care about. It’s an experience worth sharing.

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“In & Of Itself” runs through May 6, 2018 at the Daryl Roth Theatre. Tickets can be found here.

Illustration made by Laura Elizabeth Hand, CC’19

Why are we all so unsatisfied? It’s both an existential and practical question, facing down administrators at colleges across the country. As diagnoses of mental disorders have skyrocketed and the palpable aura of discontent has began to seep into millennial spaces, especially the college campus, most experts are left wringing their hands without explanation. While hundreds of think pieces have been written about the existential dread of the modern world, very few have wondered if our brains themselves may be incompatible with the society we’ve made.

To understand where the disconnect between brains and our society comes from, it’s worth focusing on biology. Humans have evolved our complex brains over millennia to do one thing better than other species — to reduce uncertainty. We do this by predicting the future based on our past experiences, and then adjusting those models when they’re wrong. We call this process learning.

The neurons in our cortex and hippocampus, two areas essential for learning and prediction, are especially wired for these tasks. These neurons have two kinds of channels at their synapses that bind to glutamate, the primary excitatory neurotransmitter in the brain. The simpler channel opens up whenever glutamate is around, causing quick but fleeting pulses of activity. The more complex one needs a lot of glutamate to open, but when it does, it triggers a host of structural changes in the neuron to make it more responsive in the future.

This process is called long-term potentiation, and it is the molecular basis of learning from sea slugs all the way up the food chain to Homo Sapiens. But one innovation made by mammals is the addition of dopamine to the picture. For us, whenever something unexpectedly good happens that doesn’t meet our predictions, our brains send those neurons a pulse of dopamine. This cements those molecular changes of LTP on a scale of weeks to months, and makes sure that the association is learned.

This process was ideal for the hundreds of thousands of years humans spent as hunter-gatherers. We lived in an much more uncertain world, where many of our predictions were wrong and small unexpected pleasures (such as finding berries where there were none previously) abounded. Our brains would frequently receive small pulses of episodic happiness through dopamine. Learning based on rewarding prediction errors to motivate similar behavior in the future works only when those prediction errors are common.

While the world may seem uncertain existentially, in the most basic of ways it is far more predictable. That lack of constant, small pulses of dopaminergic inputs may be the root cause of many modern issues. When most of our material comforts are taken care of by technology, we turn elsewhere to find those hits of dopamine our brains are wired to crave. Whether that be through an alert notification on our phones, a pint of ice cream, or forcing a dopamine rush through alcohol, opioids, cannabinoids, or other substances, we increasingly engineer artificial means of dopamine release — sometimes to addictive and destructive ends.

So what can be done to alleviate the issue? Instead of turning to massive and artificial methods of dopamine generation, re-introducing small and, more importantly, surprising pleasures into your life can provide a brain evolved to learn through unpredictability those necessary reward prediction errors. Eat a new food, explore a new place downtown without an agenda, have a conversation with someone unexpected. Our intelligence is how we’ve made it this far — maybe we can think our way out of this one.

Full credit for this conceptualization goes to Peter Sterling. For a more detailed elaboration on this idea I wholeheartedly recommend reading his essay “On Human Design” or his book Principles of Neural Design, specifically Chapter 14

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Uniquely Human is written by Heather Macomber and runs every other Monday. To submit a comment/question or a piece of your own, email submissions@columbialion.com.

Photo from the 2014 film Güeros.

There is a moment in Alonso Ruizpalacio’s 2014 film, Güeros, that has stayed with me since my first viewing: following a confrontation with an angry neighbor, the film’s trio flees the scene by car, and Sombra, the protagonist’s older brother, lies in the backseat undergoing what is clearly meant to be an audiovisual representation of a panic attack.

The scene owes much of its haunting memorability to its experimental track. A selection of ambient sounds—an eerie screech, a low rumble, and an incessant beep—intensify in sync to Sombra’s deteriorating mental condition, blurring his vision and muting the pleading voice of his younger brother (shown above) until his whole existence is reduced to the mere sound of frantic breaths against the backdrop of perilous sonic waves, which are evidently threatening to overtake him.

The reason this scene continues to leave such a lasting impression on me is simple: I, too, suffer from anxiety, and the scene’s mise-en-scène (everything that physically appears before the camera) seamlessly blends with the avant-garde dreaminess and apprehension of the score to elicit a convincing and uniform reproduction of my mental affliction.

In fact, when I first saw this film, two years ago, I was in the midst of my own personal Crisis. This took place seconds after I realized it was mathematically impossible for me to pass one of my CS classes, and that, consequently, I would be unable to graduate from Columbia within the traditional four-year span. Suffice to say, this colossal failure (“colossal,” insofar as it was the only notable one in my life thus far) amplified my anxiety-inducing imposter syndrome to the point where I physically couldn’t leave my room; the specificities of what followed, however, are for another time.

For now, I wish to briefly ruminate on one of cinema’s most sacred, primordial powers, illustrated by the aforementioned example: its ability to instill in the viewer catharsis (Greek: “katharsis,” meaning “purification” or “cleansing”) through poignant verisimilitude, especially as it relates to life’s immanently tragic nature.

As Aristotle teaches us in his seminal work on tragedy, Poetics, this experience is marked by a profoundly satisfying purgation of “negative” emotions, especially those characterized by fear and pity. In the end—if all has gone well—the viewer reemerges with the consoling reaffirmation that, despite one’s misfortunes, they will be able to cope nonetheless; in other words, that everything will end up okay.

But, on a more primal level, why do we experience catharsis at the movies at all?

Here it is helpful to quote the German Continental philosopher, Hans-Georg Gadamer, who is best known for his 1960 work on hermeneutics, Truth and Method, in which he writes:

“What is experienced in such an excess of tragic suffering is something truly common. The spectator recognizes himself and his finiteness in the face of the power of fate…To see that ‘this is how it is’ is a kind of self-knowledge for the spectator, who emerges with new insight from the illusions he, like everyone else, lives.” (132)

The first step in reaching catharsis, “recognition,” is not to be misunderstood as something immediate, for this is the process by which the artist aims to get the viewer to empathize with the protagonist on at least some level (this implies neither likeability nor relatability—think Walter White from Breaking Bad). Neither should it be seen as “contextual” recognition: after all, who else has ever found themselves literally trapped by a boulder in a remote slot canyon in southeastern Utah (127 Hours)? The recognition, then, is a thematic one: to use the previous example, the viewer is familiar with the general feeling of being suddenly pitted against a formidable obstacle which, despite your initial off-guardedness, will come to test the limits of your resolution.

The instant of catharsis occurs when the character’s suffering reaches its crescendo because it is here that the “power of fate” is most viscerally felt. Having been emotionally “led on” by the artist, the character has become us in the abstract sense, so that their trials and tribulations are likewise our own. Hence, we too are subjected to the great emotional weight of intense suffering when the crescendo arrives. It is here that the recognition realizes its consummate form as an utterly affective phenomenon.

It is the aim of the artist to lead the viewer to this step of “affective immersion,” without which the next step is not possible: the acquisition of what Gadamer terms “self-knowledge,” or “new insight.” This is the most important stage of catharsis, for it is here that art fulfills its primordial power: the viewer can now walk away with a rejuvenating, newfound emotional clarity. All that is left is the dissection of this clarity and the study of its personal implications.

For me, after watching Güeros, this meant sitting in shock for several hours, letting the weight of time slowly crush me as I slowly accepted the terrifying reality of my situation: I was having a chronic panic attack, fueled by a feral wave of anxiety, and was caught up in a truly desperate situation which seemed to have no end in sight.

Finally, cinema’s greatest gift: the capacity to incite radical change in the viewer, for the betterment of his or her situation, or those of others.

For me to get up and say:

“Hm…Maybe it’s time I got out now.”

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The Seventh Art is written by Juan Gomez and runs every other Sunday. To submit a comment/question or a piece of your own, email submissions@columbialion.com.

Photo Courtesy of the Vanishing Point Chronicles

Mid-October marks many things in a college student’s life. It’s the beginning of midterms, the end of the beginning-of-semester haze, the hangover from homecoming, the warm weather’s slow abandonment. We desperately begin to count down to Fall Break, but the wait seems impossible. In this hour of need, you ask, what else but film can lift our spirits? What films and shows can we turn to?

Fall TV premieres are slowly trickling in, but for immediate therapy, check out this summer’s best premieres and releases:

Dunkirk

Only Christopher Nolan can write a 70 page screenplay, cast Harry Styles as the most talkative character, and then insist that his film be shown in 70mm across all theaters in the US. And only Christopher Nolan can turn all of that into a smashing success. Based on a true story, Dunkirk is not only the most visually stunning film you’ll see this year, but also the most enthralling. Commonly mislabeled as a typical war movie, there’s really no way to describe Dunkirk to someone who hasn’t seen it. What Nolan has created is a plot line with twists and characters unlike those you may be familiar with. And that’s precisely what makes it so great.

The Big Sick

I don’t think I’d be able to count the number of times I burst out laughing while watching Kumail Nanjiani’s debut feature film. A movie based on Nunjari’s own love story, The Big Sick was the romantic comedy version of Dunkirk. Nanjiani refuses to conform to the tropes that often plague this genre and instead infuses this story that isn’t really about romance at all with an incredible sense of humor and relevant social commentary . This innovative story, combined with Ray Romano’s adorably dopey performance as the girlfriend’s dad, catapults The Big Sick to the top of romantic comedies.

Spider-Man: Homecoming

If you’re only planning on watching one of this summer’s blockbuster superhero hits, skip Gal Gadot’s overrated Wonder Woman for Tom Holland’s stellar performance in Spider-Man. Sure, Wonder Woman broke a glass ceiling and it’s great that a woman superhero is getting her chance to shine, but amidst the massive boost of superhero movies, Spider-Man returns to the genre’s roots. Unlike Wonder Woman and other recent films in the genre, Spider-Man is light and funny, and it finally feels like the movie-for-all-ages superhero films promise to be. Holland’s character is indeed “super,” but he’s also relatable, and I found myself rooting more genuinely for him than I had for any Marvel or DC character in a long time.

The Handmaid’s Tale

If you don’t want something dark, don’t watch The Handmaid’s Tale. But if you want to experience television’s most thrilling and thought-provoking series of the summer, it may be worth it. Based on the novel by Margaret Atwood, The Handmaid’s Tale follows a dystopian futuristic America in which women are forced to return to domesticity. Our protagonist, played by Elisabeth Moss, is chosen as a breeder– and while her performance is outstanding, nothing could prepare you for the chills that will run up your spine when Yvonne Strahovski’s and Ann Dowd’s characters come on screen. In fact, nothing really could prepare you for the whole show at all, so I guess you’ll just have to watch it yourself.

Unbreakable Kimmy Schmidt

I know I’ve spoken about this show before, but in this season Kimmy attends Columbia, and her observations are so spot on that it should probably be required viewing for incoming first-years. Although they filmed at UTS and not Columbia, the Kimmy Schmidt showmakers somehow found a way to harness the culture of Columbia– stress levels and all– in a wonderfully concocted season of puns, social commentaries, and Hamilton’s Daveed Diggs. Even if you haven’t watched the first couple of seasons, season three is worth your time. Maybe use it as a study break when you’re up late in Butler– and perhaps take Kimmy’s advice when she tells you there’s more to life than studying.

Take 3(4x +7) = 45. I’m sure all of you remember how to prove that this obviously is true. You have to rewrite the equation to distribute the 3 into 4x+7 to get 12x + 21 equals 45. Then, you have to subtract 21 from both sides to get 12x=24. And finally, you divide both sides by 12 to get the answer, x =2. This, again, being obvious, I would just write the answer, x=2. It wasn’t as if math stopped working if I didn’t write out the three steps on my homework along with the answer. The answer would always be two, so why did I have to waste what little energy I had on one of 46 questions I had every evening for homework?

That argument did not save me from losing points on my assignments in 7th grade.

While I love questions about how a government operates and how we justify government action much more than I loved my algebra proofs, I can see why it’s tedious. Sure, prosecutors should focus on true threats to the community and not otherwise law-abiding citizens, the executive branch in the modern era is given significant discretion on how to enforce legislation; it’s fine if the de facto result of prosecutorial discretion means that a certain group of people already determined as safe have some guarantee of safety; and amnesty through this understanding is not the worst thing that has happened to the American rule of law. But did saying any of that make it truer? Would not saying that make it falser? Life, like math, doesn’t change absent the work that went into it. And while proving these complex questions of political theory makes one a better debater, debating the validity of one’s life to everyone who asks is an exhausting exercise of existentialism.

So sure, Joey, we should show our work to the teacher. Maybe it should be in op-ed form, or The Lion, or re:claim, for the sake of posterity. But I think, to stay in math class a moment longer, Undocu is tired of algebra and wants to move on to Accelerated Multivariable Calculus, and would be happy to debate Accelerated Multivariable Calculus, but you insist on debating algebra, and there’s only so many times they can write x=2 before 800,000 pencils snap in unison. I think that’s what they mean by “reconstructed.” Most people don’t question the virtue of DACA recipients. Most Trump-reluctant Republicans prefer to look like they’re being helpful on the issue as is.

And I’m sure you could make a wonderful argument in Accelerated Multivariable Calculus without writing MS minus 13.

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If you’d like to submit an op-ed to The Lion, email submissions@thecolumbialion.com

Photo by Timothy Diovanni

Hypercube: Brain on Fire

(le) poisson rouge 10/15/17

If you want to learn about philosophy in action, talk to Hypercube, a NYC-based contemporary music ensemble comprised of saxophone, percussion, guitar, and piano:

“A hypercube can be described as an analogous shape, a 3-dimenseional cube, in four or more dimensions. The cube formation is essentially a 3-dimensional equalizer. We like to think that it enters another dimension when the music is added,” Erin Rogers, saxophonist, explained over e-mail.

Does the music transport to another dimension? Or is this just lofty language – is the actual experience more conservative?

To answer these questions, I will describe the musical experience. Mikel Kuehn’s Color Fields (2006/8) sounds like painted landscapes. Barren, desolate tundra morphed into desert glow. In the most colorful moments, it is hard to determine which instrument is playing which line. Disembodied sound eliminates the individual, presenting a blurred image.

These mixing timbres – a fancy term to say how an instrument sounds because of its physicality (i.e. what makes a clarinet sound like a clarinet and not a flute) – are explored in Andriessen’s Hout (1991). I appreciate Rogers’s commentary before the piece; she describes how the instruments interact through a displaced motive. Tree branches shoot out, overlapping, rustling into each other. Rare unisons sound like the manifestation of unshakeable wood.

Behind me, as I listen, ice cubes rumble. Spaghetti and meatballs float in waiters’ hands. This is a new concert experience for me – I am used to the absence of most extraneous sounds – and I am not very happy about it (boohoo for me, I guess).

Rogers leans back with her instrument, like a rocker with their guitar or mic stand. Jay Sorce, spectacled, navigates his instrument’s fingerboard, stoically, with an occasional head wiggle. A grey-haired man in the front row moves his head in time with the music, outwardly satisfied. Unflinching precision masks Chris Graham’s face; he is a Secret Service agent on the marimba. Between pieces, he appears relaxed, friendly, smiley. Pianist Andrea Lodge’s head bounces in a groove. Yellow, blue, pink light shroud the performers, their instruments, sheet music, and iPads. One forlorn disco ball dangles, misplaced, from the ceiling.

Photo by Timothy Diovanni.

Most composers treat Sorce’s guitars – he plays both acoustic and electric – with extra care, making sure to not have them overpower the ensemble. Schuessler’s Liminal Bridges (2016) and Hurel’s Localized Corrosion (2009) stand in contrast: Sorce shreds, riffs, wails, screams eruptions of living sound. Flutter-tonguing in the saxophone complements these outbursts. Who knew these instruments could mix so convincingly?

Considering these sound worlds, does the program achieve its goal of setting the audience’s “Brain on Fire”? This program is as a challenge to concertgoers: the music should, in theory, cause vigilant attention, surprise, visceral responses. Hurrel’s Localized Corrosion best accomplishes this task for me.

Because of its multifarious, competing textures, Hurel’s work causes continual engagement. This is not mind-numbingly music: it cannot be turned into Muzak, lightly pacified in shopping malls and convention centers. It demands the precision and daring of this ensemble to strike the deep chasms between passages, to become alive. Provocative music ignites an experiential fire.

Following up a previous email from Professor Goldberg, the University Provost has emailed students to make them aware of the Rules of University Conduct, likely related to recent protests of speakers invited to campus by CUCR.

In particular, he notes that students actively disrupting speakers are subject to being disciplined, confirming reports noted by Zack Abrams (CC ’21).

The full email can be found below.

Dear fellow members of the Columbia community:

As President Bollinger made clear in his Commencement Address last May, freedom of speech is a core value of our institution. The University is committed to defend the right of all the members of our community to exercise their right to invite, listen to, and challenge speakers whose views may be offensive and even hurtful to many of us. It is the duty of every member of the community to help preserve freedom of speech for all, including protesters.

This duty does not evaporate when the freedom we enjoy protects community members who invite speakers made famous by grotesquely unfounded and unethical attacks on people whose presence at Columbia, and in the surrounding Harlem community, contribute so much to the diversity that makes us great.

Two years ago, after broad consultation, the Columbia Board of Trustees adopted amended “Rules of University Conduct” to protect freedom of speech for invited speakers and their audiences, as well as for protesters. Since a number of controversial speakers are already scheduled to come to Columbia in the coming weeks and months, it may be helpful for members of the community, especially students, to keep the following points in mind.

It is a violation of the Rules of University Conduct to interrupt, shout down, or otherwise disrupt an event.

It is also a violation to obstruct the view of the speaker with banners or placards.

Individuals engaged in disruption will be asked to identify themselves by a Delegate or Public Safety Officer; it is an additional violation of the Rules to refuse to do so.

Delegates or Public Safety Officers will request that individuals stop disrupting (e.g., stop shouting, sit down, move to another location); individuals who fail to comply promptly with such a request may be subject to interim sanctions up to and including suspension by the Provost for the rest of the semester.

On receiving reports of a violation of the Rules of University Conduct, the Rules Administrator will investigate to determine whether a Rules violation may have occurred. The Rules Administrator may meet with students or others involved in a disruption to determine if an informal resolution is possible.

If informal resolution is not possible, the disciplinary process will continue with the Rules Administrator filing a formal complaint with the University Judicial Board. That Board will follow the procedures specified in the Rules of Conduct. Repeated violations of the Rules of Conduct will be subject to greater penalties.

More detailed information on University free speech policies and procedures is now available on the website of the Office of University Life.

Starting next week, late night package service will be available thanks to Columbia Mail’s new package offerings. Students will be able to send in a request by 3PM on the day their package arrives and request for it to be left in one of the 28 new lockers in the basement of Wien Hall. With this new option, students will be able to pick up their package after the Package Center closes meaning students with high priority items will not need to be stressed if they could not grab their package in time.

The full email can be found below:

Located on the lower level of Wien Hall, lockers will be available upon request starting Monday, October 16. How it works:

Lockers are accessible only when the Student Mail Center is closed.

Locker space is limited and so usage is prioritized for critical needs, such as:

medication (non-perishable only, lockers are not refrigerated)

time-sensitive materials (e.g. employment documents, identification)

items of high value (e.g. cell phone, laptop)

There are 28 lockers in total, the largest being 22x16x13.5 (LxWxH). Over-sized packages are not eligible for lockers.

To request a locker, students should reply to the email notification received when mail or a package has arrived.

Lockers cannot be reserved for mail or packages before they are received and processed at the Student Mail Center.

Students that are unable to reach high or bend down should indicate that a mid-level locker is needed.

The email request must be received by 3:00 p.m. the day the locker is needed in order to be considered.

By 5:00 p.m., Student Mail will send a confirmation email with a 6-digit pin to open the locker.

If the item is not picked up by 9:00 a.m. the following morning, the item will be removed from the locker and returned to the Student Mail Center for pick up. The student will not receive further email notifications.

Photo Courtesy of davemalloy.com

Fresh off starring in his other musical, Natasha, Pierre and the Great Comet of 1812, Dave Malloy, Brittain Ashford, and Gelsey Bell are currently performing in Malloy’s show Ghost Quartet. Performing with them is Brent Arnold, who was not part of the Great Comet cast, but is just as talented.

The show, currently being performed at Next Door at NYTW is in an intimate space that brings all of the audience close to the chilling performance. In the performance I attended, Ben Stiller was sitting right behind me, reminding me once again of the wide range of people you will see while exploring New York City. The show is centered around a “haunted song cycle about love, death and whisky.” Indeed, during one of the songs, everyone in the audience is handed an actual shot of whisky to drink with the cast. As a result, many of the performances are 21+ (a few shows have specifically been allocated to be for all ages). Throughout the performance, the audience is transported across multiple centuries and characters and, at times, plunged into complete darkness as Malloy’s gorgeous, yet eery songs emanate throughout the small theater.

As the show rushes towards an unknown ending, the audience is asked to participate by directly supplying the music for the show. While there are multiple articles online that go into much more depth about the plot, I definitely recommend going into the show having not listened to the songs or knowing the plot. With such an intimate setting, the experience when seen fresh is absolutely one not to miss.

While tickets to Ghost Quartet’s initial run are sold out, the run is being extended today, October 11, to include more showings, as announced by the NYTW via twitter yesterday.